Requiem (Sussmayr-Version). By Wolfgang Amadeus Mozart (1756-1791). Edited by Ulrich Leisinger. Arranged by Paul Horn / Franz Xaver Sussmayr. For SATB soli, SATB choir, 2 basset horns, 2 bassoons, 2 contrabass, 3 trombones, timpani, 2 violins, viola, basso continuo. This edition: Paperbound. D-Moll (D minor). Stuttgart Urtext editions. Score available separately - see item CA.5162600. Requiem, Mourning, death. Study score. Language: Latin. Composed 1791. KV 626. 144 pages. Published by Carus Verlag (CA.5162607).
With Language: Latin. Requiem, Mourning, death.
The history of the genesis of the Requiem is entwined with legends and anecdotes. The burdens of the composition and performance of La Clemenza di Tito and Die Zauberflote, and an acute infection led to the collapse and death of the composer following a short illness. Mozart left his wife in considerable debt. Constanze therefore turned to Mozart's friends, asking them to complete the fragment. After two failed attempts, the task passed to Mozart's pupil Franz Xaver Sussmayr, who completed the Requiem in the form known today, using working materials that are no longer extant, and perhaps verbal instructions from the composer. Today the Sussmayr version is still the most well known, and it is doubtless the one with the closest historical ties to Mozart. Sussmayr's version of the Requiem has been published in a new edition which is true to the original sources.

Mass in C major by Ludwig van Beethoven (1770-1827). Edited by Ernst Herttrich. For Soli SATB, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, 2 violins, viola, Basso (cello, double bass, organ). This edition: Paperbound. Masses, Latin. Full score. Language: Latin. Opus 86. 192 pages. Duration 50 min. Published by Carus Verlag (CA.4068800).
With Language: Latin. Masses, Latin.
With its tonal language of subjective avowal, the first of Beethoven's two masses opens up new worlds of expression for the liturgical texts of the Mass which are expressly modern and point towards the future. Not to be considered a preliminary work to the Missa solemnis, it is an entirely independent work which set standards for the further development of settings of the Mass in the 19th century. Its newness, of which the composer himself was fully aware ('I do not speak gladly of my Mass, or of myself, but I do believe that I have treated the text in a manner in which only few have treated it.'), paves a way to an hitherto unknown, contemporary avenue to faith which today is still current. Carus presents this important work of church music history in a new critical edition by the Beethoven expert Ernst Herttrich.